Management pocketbooks the creative manager's pocketbook

THECREATIVE MANAGER’SPOCKETBOOKJohn Townsend & Jacques FavierDrawings by Phil Hailstone

“The need for creativity is more apparent than ever in today’s highly competitiveenvironment. This pocketbook provides many practical ways to help fulfil your potential.” Mervyn Simmonds, Course Director, Complete Healthcare Training

“A fascinating and eminently readable book which condenses into its 100 or so pagesmany interesting and immediately practicable suggestions and techniques. A ‘must’ for thesuccessful manager.”Rosanne Beal, Independent Training Consultant

CONTENTS

WHAT IS CREATIVITY? 1Definitions, bisociation, examples,brains, exercises

CREATIVITY & MANAGEMENT 13Why innovate? creativity as a mission,areas for innovation

HOW CREATIVE ARE YOU? 27Creativity quiz, tolerance for ambiguity, mental flexibility, creativityblockers, preparing for creativity

PRODUCING CREATIVE IDEAS 43Techniques: brainstorming, nyaka, merlin, features matrix, eureka,brainfaxing, analogies, identification,wrong rules, frame up/down; tools: mind mapping, 5-point scoringsystem, visualisation; trigger cards

SELLING CREATIVE IDEAS 97The enemy, force field analysis, CHIPS analysis, presentation tips:structure, V.H.F. support, platform skills

REFERENCES & 108FURTHER READING

WHAT IS CREATIVITY?

1

WHAT IS CREATIVITY?

DEFINITIONS

● The result of using the imagination rather than routine skills

● The capacity which each of us has to imagine new and useful solutions to problems

● A drive to see things other than they seem

● Lateral thinking (Edward de Bono)“When a low probability line of thought leads to an effective idea, there is a ‘Eureka’ moment and at once the low-probability approach acquires the highest probability”

2

WHAT IS CREATIVITY?

PROCESSBISOCIATION

“The bringing together of two previously unrelated planes of thought”Arthur Koestler‘The Act of Creation’

3

“There is no new thing under the sun” Ecclesiastes i:8

WHAT IS CREATIVITY?

PROCESSBISOCIATION - THE BILBOQUET

As a symbol of creativity, think of the bilboquet - the ancient French toy which has stood the test of time.

The idea is to hold the stem of the separated bilboquet with the ball hanging down on its string and, with a flick of the wrist, try to fit the ball on to the peg - thus making a complete bilboquet.

It’s not as easy as it looks. That’s bisociation!

4

WHAT IS CREATIVITY?

EXAMPLESSCIENCE

Here’s how bisociation worked with Pasteur’s discovery of vaccination. He inoculatedsome chickens with a cholera virus - hoping that they would get the disease - but theysurvived and proved immune to all subsequent inoculations!

5

Vaccination

Healthy chickenCholera virus

WHAT IS CREATIVITY?

EXAMPLESART

Here are two bisociations we can identify in the painting of Picasso.

6

The sculpture ofAfrican masks

Paul Cezanne’sbrush technique

Face in profile

Full face

WHAT IS CREATIVITY?

EXAMPLESHUMOUR

All humour illustrates the principle of creative bisociation in that the Eureka moment iscreated by the listener/reader when he or she makes the connection between the twopreviously unrelated ‘planes of thought’.

Did you know that an Irishman/ Belgian/Newfy/Polak broke the world record for the 100 metres last week?

He ran 103 metres!

7100 metres - distance 100 metres - time

WHAT IS CREATIVITY?

EXAMPLESPRODUCTS

8

ChipboardAdhesive

brushWindsurf

Adhesivetape

Clothesbrush

Glue Wood shavings/sawdust

Sailingdinghy

Surfboard

WHAT IS CREATIVITY?

IF...

● If Gutenberg hadn’t taken part in a wine harvest, he would never have invented the printing press...

● If the apple hadn’t fallen on Newton’s head, he might never have described how the force of gravity works...

● If Archimedes hadn’t taken a bath, he wouldn’t have been the first to shout “Eureka!”...

9

WHAT IS CREATIVITY?

BRAIN HEMISPHERES

Pipe dreams are fine, but an idea is only truly innovative if the right brain produces it andthe left brain endorses it!

10

CreativityImagesColour

EmotionHolism

IntuitionComprehension

Recognition

EvaluationLogicReasoningRationaleAnalysisCalculationRealism

ok ✔

11

WHAT IS CREATIVITY?

EXERCISE

Describe or draw two inventions/discoveries using bisociation

NOTES

12

CREATIVITY & MANAGEMENT

13


WHY INNOVATE?

14

“The enterprise that does not innovate inevitably

ages and declines. And in a periodof rapid change such as the present,

an entrepreneurial period, thedecline will be fast.” Peter Drucker

15


WHY INNOVATE?EXERCISE

In your opinion, what are the five key challenges facing your organisation over the next10 years?

● How to .................................................................................................................

● How to .................................................................................................................

● How to .................................................................................................................

● How to .................................................................................................................

● How to .................................................................................................................

If you consider that your organisation will not need creativity in order to face up to thesechallenges, please stop reading and give this book to someone who needs it more than you.


CREATIVITY AS A MISSIONEXAMPLES

16

“Innovation - the generation of

new ideas, new products and

services and new ways of

doing things - is critical to our

continued vitality. Innovation

flourishes when new ideas and

approaches are nurtured rather

than discouraged, when a

positive work environment is

created, when risk-taking is

supported, and when

experimentation isencouraged.”

GTE: Vision and Values

“Our mission is to improve continually our productsand services to meet our customers’ needs.”Ford Motor Company: Mission and Guiding Principles

“To achieve our goals we must search continuously for

improvement through innovation and the use of technology.”

The British Airways Mission

“Technological imagination, vision and creativity mustcontinue to provide value to our customers and futuregrowth for our businesses.”Union Carbide: Our Mission


AREAS FOR INNOVATION

● Product/service improvement

● Customer service improvement

● Product/service diversification

● New products/services

● More creative advertising

● Increased efficiency and quality/reduced costs

● Increased personal effectiveness and on-the-job creativity

17


AREAS FOR INNOVATIONPRODUCT IMPROVEMENT

Constantly ask ‘How can we improve our present products?’. Who would have predicted20 years ago that most men would still be wet shaving in the 1990s? The success ofGillette razors over these last years has been based on constant ‘bisociative’ productimprovement.

18

G2(2 blades)

Contour(pivoting head)

Contour Plus(lubricating strip)

Sensor Excel(‘springs’)


AREAS FOR INNOVATIONCUSTOMER SERVICE

The creative manager is ever on the look-out for new ways of caring for the customer -especially at those ‘moments of truth’ when there is a direct contact with the company.

Jan Carlzon took SAS, the Scandinavian Airline, from an $8 million loss in 1981 to a $71 million profit just over a year later. One of the ways he did it was creativelyparadoxical:

19

“We saw that the only way SAS could use the (newly-purchased) Airbuses economicallywas to provide poor service to the very customers we were working to attract. Howwould business executives in Stockholm and elsewhere prefer to organise their travels?Would they want to fly in our roomy, new Airbuses, even if they would have few flightsto choose from and required stops in Copenhagen? Or would they prefer travelling inordinary DC-9s on frequent, non-stop flights from Stockholm, Oslo, or elsewheredirectly to major cities in continental Europe? To me the answer was obvious. ‘Put theAirbuses in mothballs’, I said ‘use the DC-9s instead’.”Jan Carlzon, ‘Moments of Truth’


AREAS FOR INNOVATIONPRODUCT DIVERSIFICATION

Always be asking yourself ‘What else does the customer want?’. Not content with theworld-shattering success of the Walkman, Sony went on to produce some clever variations:

20

Cassette + FM Radio

Radio

Recording Walkman

Mike

Discman

CD Player


AREAS FOR INNOVATIONNEW PRODUCTS OR SERVICES

How many once-successful companies went out of business with drawers full of rejectednew product or service ideas?

The 3M Company is a master of innovation. Their ‘don’t kill a project’ philosophy allowed Spencer Silver to keep his non-sticking glue idea alive until a colleague in need of a lightly adhesive bookmark for his hymn book gave him and Art Fry the bisociation they were looking for. And the Post-It Note was born! The rest is history.

21


AREAS FOR INNOVATIONCREATIVE ADVERTISING

Here are some good examples of bisociation in advertising slogans:

22(Ford - new shape of Sierra boot/trunk)

Say hello to thegood buys

(Heathrow Airport Duty Free Shop)

(Polo - selling thenothingness!)

The Mint

withthe ho

le

(Scandinavian Airline System)

Thestopthat

keepsyou

going

(Little Chef Restaurants)

Gasthe heat of the

moment(British Gas)

Our future is behind usOur future is behind us


AREAS FOR INNOVATIONEFFICIENCY, QUALITY, COSTS

Here are four ways in which progressive companies look for creative solutions for doingbetter with less:

1 Investment Management Analysis: Project groups of internal consultants search for ways to increase ‘return on investment’ (increase revenues and/or decrease costs).

2 Total Quality Programmes: Each employee is expected to give regular feedback to management on how to improve quality at his or her workplace.

3 Overhead Value Analysis: Teams of internal or external consultants conduct a survey of each staff job asking ‘What does this job perform and for whom?’. Then they ask the client ‘What does this job add to you and/or your performance?’.

4 Quality Circles: Groups of employees meet regularly to identify opportunities for improving quality throughout the organisation. Project teams implement action plans between meetings.

23


AREAS FOR INNOVATIONPERSONAL EFFECTIVENESS: EXERCISE

This is a picture of busy you in your office made up of 15 shapes. Photocopy the page,cut out the shapes and rearrange them into another you! You’ll be amazed at how manyideas you can give yourself just by doodling with the shapes.

24


AREAS FOR INNOVATIONYOUR JOB: EXERCISE (Part 1)

This ‘atomium’ represents your job. Write the mission or purpose of your function in the centre and six of your main areas of responsibility around it. Use only keywords.

25


AREAS FOR INNOVATIONYOUR JOB: EXERCISE (Part 2)

Choose one or more key areas of responsibility from your job ‘atomium’ where you willneed creative solutions in order to adapt to the changes in your environment. What areyour top three challenges?

● How to

● How to

● How to

The next chapter will help you to ‘DIS-COVER’ your creative potential and chapter 4 willgive you some ideas on how to produce ideas!

26

HOW CREATIVE ARE YOU?

27


CREATIVITY QUIZ

On the next four pages you’ll find a detailed Creativity Quiz with which to measure yourcreative potential to tackle those job challenges. As a warm-up exercise, take a minute toanswer these three questions:

1 When did you last have a really creative idea?

This morning Yesterday Last week Last month Last year

2 What was it?

3 What motivates you to be creative?

28

✔ ✔ ✔ ✔ ✔

CR

EA

TIV

ITY

QU

IZW

ha

t is

yo

ur

cre

ati

ve p

ote

nti

al?

Mo

st p

eop

le a

re m

uch

mo

re c

reat

ive

than

th

ey t

hin

k! T

his

qui

z w

ill h

elp

rev

eal y

our

po

tent

ial a

nd p

inp

oin

t w

hat

may

be

sto

pp

ing

yo

u fr

om

bei

ng e

ven

mo

re in

nova

tive.

Ple

ase

read

the

follo

win

g st

atem

ents

and

che

ck o

ne o

f the

colu

mns

opp

osite

to in

dica

te w

heth

er th

ey a

lway

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ften

,so

met

imes

, rar

ely

or

neve

rap

ply

to y

our

pers

onal

ity, y

our

prob

lem

-sol

ving

app

roac

h or

you

r co

mpa

ny/o

rgan

isat

ion.

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ase

don’

t co

mpl

ete

the

score

colu

mn

until

yo

u’ve

fini

shed

the

quiz

.

A.

My

Per

sona

lity

1.I la

ck co

nfide

nce i

n mys

elf2.

I valu

e criti

cism

3.I a

m afr

aid of

being

diffe

rent fr

om ot

hers

4.My

paren

ts en

coura

ged m

e to b

e crea

tive

5.I a

m un

comf

ortab

le wi

th am

biguit

y6.

I like

new

faces

/plac

es7.

I nee

d a st

rong s

ense

of or

der in

my l

ife8.

I beli

eve t

hat ‘d

aydr

eami

ng’ is

wort

hwhil

e9.

I feel

unea

sy w

ith pe

ople

who s

how

their f

eelin

gs10

.I e

njoy p

laying

a rol

e11

.I a

chiev

e mos

t whe

n I fo

llow

proc

edure

s12

.I re

ly on

my f

eelin

gs to

guide

me

13.

I like

to be

know

n as d

epen

dable

14.

I like

to be

with

free-t

hinkin

g peo

ple15

.I a

m rea

ctive

rathe

r than

proa

ctive

16.

I like

look

ing fa

r ahe

ad

Always

TO

TA

L ➡

A=

Sometimes

Often

Rarely

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Score

© J

OH

N T

OW

NS

EN

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ND

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E T

AYLO

R 1

989

1.Wh

en fa

ced w

ith a

prob

lem, I

jump t

o con

clusio

ns2.

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a pr

oblem

arise

s, I a

m ob

jectiv

e and

analy

tical

3.Yo

u nee

d all t

he fa

cts to

mak

e a de

cision

4.‘G

ut-fee

l’ work

s for

me5.

I rely

on m

y pas

t kno

wled

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simi

lar pr

oblem

s6.

I hate

work

ing on

or w

ith de

tails

7.Co

mplet

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aff w

ork is

the s

ecret

of su

cces

s8.

Figure

s and

stati

stics

give

a bia

sed p

icture

9.Pr

oblem

s sho

uld be

appr

oach

ed in

the s

ame w

ay10

.I a

m se

en as

an or

igina

l prob

lem-so

lver

11.

I hav

e diffi

culty

defin

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oblem

s12

.I u

se di

scipl

ined p

roblem

-solvi

ng te

chniq

ues

13.

I get

depr

esse

d if a

prob

lem se

ems t

oo di

fficult

14.

When

othe

rs do

n’t ta

ke de

cision

s, I w

ill - if

I can

15.

I like

to re

ad in

struc

tions

befor

e star

ting s

ometh

ing ne

w16

.I b

eliev

e the

decis

ion-m

aking

proc

ess i

s crea

tive

C.

My

Wor

k En

viro

nmen

t1.

Peop

le in

my or

ganis

ation

think

that

their w

ay is

best

2.Ar

ound

here,

crea

tivity

is co

nside

red as

the k

ey to

survi

val

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autho

rity lim

its ar

e stric

tly de

fined

4.Wo

rthwh

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ywhe

re are

acce

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or cre

ative

think

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d in t

his or

ganis

ation

6.Co

mpeti

tion b

etwee

n emp

loyee

s/dep

ts is

seen

as he

althy

7.I c

ould

desc

ribe m

y org

anisa

tion a

s cos

y and

co-op

erativ

e8.

In thi

s org

anisa

tion w

e like

to id

entify

prob

lems

9.Ar

ound

here,

if yo

u’re c

reativ

e, yo

u’re a

‘drea

mer’

10.

In thi

s org

anisa

tion,

creati

ve pe

ople

are gi

ven ‘

spac

e’11

.Or

ganis

ation

al pr

oced

ures k

ill ide

as12

.I c

an ta

lk fre

ely ab

out m

y ide

as w

ithou

t them

being

stole

n13

.I w

ill be

stop

ped f

rom su

gges

ting n

ew so

lution

s14

.Ar

ound

here,

good

idea

s can

be so

ld reg

ardles

s of re

sults

15.

New

ideas

mus

t be j

ustifi

ed w

ith a

lot of

pape

rwork

16.

Innov

ation

is en

coura

ged i

n this

orga

nisati

on

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TO

TA

L ➡

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TA

L ➡

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Cre

ati

ve

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ten

tial ➡

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Score

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My

Pro

blem

-Sol

ving

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ppro

ach

© J

OH

N T

OW

NS

EN

D A

ND

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E T

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R 1

989

How

to

scor

e1.

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ase

scor

e ea

ch o

f you

r an

swer

s by

writ

ing

the

appr

opria

te n

umbe

r of

poi

nts

in th

e S

CO

RE

col

umn

next

to it

. Giv

e yo

urse

lf po

ints

as

follo

ws:

●A

ll O

DD

num

bere

d qu

estio

ns (

1,3,

5,7,

9 et

c) s

houl

d be

sc

ored

:N

ever

=5

poin

tsR

arel

y=

4 po

ints

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etim

es=

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oint

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s=

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●A

ll E

VE

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tions

(2,

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etc

) sh

ould

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ays

=5

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tsO

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=4

poin

tsS

omet

imes

=3

poin

tsR

arel

y=

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ints

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er=

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int

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nce

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er, s

impl

y ad

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tota

l sco

re fo

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ctio

ns:

A (

My

Per

sona

lity)

, B (

My

Pro

blem

-Sol

ving

App

roac

h)

and

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My

Wor

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nviro

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stly

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A +

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find

you

r C

RE

ATI

VE

PO

TEN

TIA

L sc

ore.

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ores

mea

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verle

af y

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nd a

grid

whi

ch s

how

s yo

u ho

w to

an

alys

e yo

ur Q

uiz

resu

lts. P

leas

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ansc

ribe

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,C

and

Cre

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e P

oten

tial s

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boxe

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ake

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anal

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z A

naly

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ase

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te y

our

A,B

,C a

nd C

reat

ive

Po

tent

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core

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th

e b

oxe

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elo

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hen

rea

d t

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des

crip

tions

th

at c

orr

esp

ond

to

yo

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core

s.

A=

Pe

rso

nality

16-37

Your

cre

ativ

e po

tent

ial i

s be

ing

stifl

ed b

y so

me

of y

our

feel

ings

abo

utyo

urse

lf an

d yo

u w

ill b

e su

rpris

ed h

ow m

uch

of it

will

be

rele

ased

onc

eyo

u gi

ve y

ours

elf ‘

perm

issi

on’ t

o be

cre

ativ

e.Yo

u ha

ve q

uite

a lo

t of c

reat

ive

pote

ntia

l with

in y

ou b

ut p

arts

of y

our

pers

onal

ity a

re p

reve

ntin

g yo

u fro

m e

xpre

ssin

g it.

You

nee

d to

wor

k at

rela

xing

and

at a

skin

g yo

urse

lf ‘W

hat h

ave

I got

to lo

se?’

. Thi

s w

ill h

elp

rem

ove/

redu

ce th

e bl

ocka

ges.

Your

per

sona

lity

pred

ispo

ses

you

to b

e a

high

ly c

reat

ive

pers

on a

nd y

ouw

ill b

e a

valu

able

res

ourc

e to

oth

ers

in th

e cr

eativ

e pr

oces

s.

Your

pro

blem

-sol

ving

sty

le te

nds

to b

e ‘b

y th

e bo

ok’ a

nd la

cks

crea

tivity

.P

ract

ise

rela

xing

, for

getti

ng s

ome

of th

e ‘ru

les’

and

ope

n yo

ur m

ind

to n

ewid

eas

and

met

hods

.Yo

ur a

ppro

ach

to p

robl

em-s

olvi

ng is

som

etim

es to

o rig

id a

nd m

ay r

esul

t in

uncr

eativ

e de

cisi

ons

whi

ch r

ely

too

muc

h on

pas

t sol

utio

ns to

sim

ilar

prob

lem

s. T

ry le

tting

go

and

disc

over

you

r po

tent

ial f

or b

eing

cre

ativ

e!Yo

u ha

ve a

n op

en, c

reat

ive

appr

oach

to p

robl

em-s

olvi

ng w

ith a

lot t

o of

fer

to o

ther

s. Y

ou s

houl

d ta

ke a

dvan

tage

of e

very

opp

ortu

nity

to c

reat

e an

adve

ntur

ous

and

ques

tioni

ng s

pirit

aro

und

you.

Your

wor

king

env

ironm

ent d

oes

not e

ncou

rage

cre

ativ

e th

inki

ng. L

ook

atyo

ur s

core

s fo

r A

and

B. I

f the

y ar

e on

the

high

sid

e, th

en y

ou’re

sur

e to

feel

frus

trat

ed. W

hat a

re y

ou g

oing

to d

o ab

out i

t?It’

s so

met

imes

diff

icul

t to

be c

reat

ive

in y

our

wor

king

env

ironm

ent.

If yo

uha

ve h

igh

scor

es fo

r A

and

B, t

hen

use

som

e of

you

r po

tent

ial t

o ch

ange

the

envi

ronm

ent f

rom

with

in. I

f not

, may

be y

ou fi

t nic

ely!

You

wor

k in

an

idea

l env

ironm

ent f

or a

cre

ativ

e pe

rson

. How

ever

, if y

ouha

ve lo

w A

and

B s

core

s, th

en y

ou s

houl

d be

wor

king

at d

evel

opin

g yo

urpo

tent

ial.

No

one

is g

oing

to p

reve

nt y

ou fr

om c

ontr

ibut

ing

new

idea

s.

By

now

you

will

hav

e re

alis

ed th

at w

e al

l hav

e an

eno

rmou

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TOLERANCE FOR AMBIGUITY

Creative people seem to have a high tolerance for ambiguity. In other words, they readily accept that there are several ways of looking at the same thing.

For example, as you look at the cake below, you will see that there is one slice missing.

Now turn the page upside down, and you will see that slice all by itself in a dish. Is therea ‘right’ way of looking at the cake?

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If you look for a moment at the well-know ‘Schröder’s Staircase’, you will first see it as a normal flight of steps going up from right to left. As you continue to look at it, however, it will suddenly turn upside down! Don’t worry, your tolerance for ambiguity is growing!

34



There are three ways of knowing that this is a map of France!

1. You see a map of France!

2. You see General de Gaulle (he’s wearing a kepi and his eye is Paris).

3. You see former President Mitterand (his nose is Lake Geneva and his eye is Berne).

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MENTAL FLEXIBILITYTHE ALPHABETEST

This is a difficult but fun exercise. Write a story where every word begins with thesubsequent letter of the alphabet - starting, of course, with A. Here’s an example:

A big crocodile died, empty-fanged, gulping horribly in jerking, kicking littlemovements. Nonchalant old Peter Quinn ruthlessly shot the underwater vermin withXavier yelling ‘Zap!’.

Now you try!

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MENTAL FLEXIBILITYWHO DOES WHAT?

As we saw earlier, creative solutions to problems need both left and right brain thinking,ie: pipe dreams and logical analysis. Here’s another brain-teaser - this time a purelylogical one:

Jane Simpson, Ted Anderson, Fred Harris, Sam Carter and Peter Thomas work for asmall company and their jobs are Clerk, Secretary, Manager, Accountant and Lawyer -but not in that order! Here are some clues as to who does which job. You have sevenminutes to put a name to each job.

● The secretary bandaged the lawyer’s finger when he cut it using the former’s nail file

● While the manager and lawyer were away on a business trip, the accountant deducted half a day’s pay from Thomas and Carter for taking the afternoon off to go to a football match

● The accountant is an excellent bridge player and Anderson admires his ability

● Thomas invited the secretary to lunch but his invitation was not accepted

The answers are upside down at the bottom of page 108

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MENTAL FLEXIBILITYPUZZLES

Now for two puzzles for which you’ll need a lot of right brain bisociative creativity to solve!

The idea is to make each of the following equations ‘balance’ (ie: the left side must reallyequal the right side) by adding no more than one straight line to each. In neither casemay the straight line be through the equals sign to cancel it out!

● 5 + 5 + 5 = 550

● V l = l

The answers are upside down at the bottom of page 108.


CREATIVITY BLOCKERS

The Creativity Quiz probably brought to light some of the things which are blocking yourcreative potential. Here are some other creativity blockers to be aware, and beware, of:

● Habit● Fear of making mistakes● Upbringing● Language● Fear of consequences● The weight of previous ‘models’● Absolute truths● Principles● Fear of change● Comfort with patterns

“The brain is a wonderful thing - it switches on as soon as you wake up in the morningand doesn’t switch off again until you arrive at the office”. Irish proverb

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● Certainty● Beliefs● Self-doubt● Rational thought● Fear of appearing childish● Specialisation● Unwillingness to ‘play games’● Age● Lack of time● Politeness


PREPARING FOR CREATIVITYACTION PLAN

Creative people are usually sense-itive people who use information from all five senses to‘bisociate’. Most of us, however, tend to favour one or other of the senses (usually vision) andneglect the others. Here are some suggested exercises to help develop your under-utilised senses.

LOOK ● Next time you’re in a garden or park, pick out 15 kinds of green● Try writing a description of one of your favourite beauty spots

LISTEN ● Listen to a well-known piece of music and pick out every instrument - then try it with an unknown piece

● From time to time stop and distinguish 10 separate sounds from the ‘cacophony’ around you

TOUCH ● Every so often, close your eyes; reach out like a blind person and touch objects around you - how will you remember what they feel like?

TASTE ● Can you distinguish a Bordeaux wine from a Beaujolais - blindfolded?● Give yourself some other ‘taste tests’ and try to describe the tastes to someone else● Let tastes take you back in time!

SMELL ● Regularly conjure up pleasant smells in your mind (perfume, wood smoke, sea air) and see/feel/hear where they transport you!40

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PREPARING FOR CREATIVITYCROSS-SENSING EXERCISE

Now try and be creative with your senses! Poets are able to create experiences in theirreaders’ minds by using descriptions that use several senses at the same time.Examples:

● The hard, dark, empty sound of thunder● The pungent, gold and amber smell of crackled burning leaves● “I heard cathedral bells dripping down the alleyways” (Paul Simon)● One we all remember: “They call me mellow yellow” (Donovan Leitch)

Try some cross-sensing descriptions yourself:

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“Ibelieve that humanity should accept, as an axiom for its

conduct, the principle for which I have laid down my life -

the right to investigate. It is the credo of free men - this opportunity to try,

this privilege to err, this courage to experiment anew. We scientists of the human

spirit shall experiment, experiment, experiment.”

Roger Bacon (c 1220-1292)

“There is a desperate need for the creative behaviour of creative individuals. With scientific discovery and invention proceeding geometrically, passive andculture-bound people cannot cope with the issues. Unless individuals, groups and nations can imaginatively construct new ways of relating to these changes,the lights will go out. We must make new and original adaptations as rapidly as science introduces change, or annihilation will be the price we pay for our lack of creativity.”

Carl Rogers (Quoted in Brain/Mind Bulletin, September 1990)

PRODUCINGCREATIVE IDEAS

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PRODUCING CREATIVE IDEAS

TECHNIQUES, TOOLS & TRIGGERS

This chapter is divided into three sections:

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1. TechniquesHere, we describe 10 ‘ready-to-use’problem-solving techniques in terms of:

Objectives/description/applications

Instructions

Materials needed

On the reverse side of each descriptionis a practical example of how thetechnique has been used in one of ourcreativity sessions.

3. TriggersSeveral of the creativitytechniques rely on orcan be supplementedby outside ‘triggers’.This section consists ofsimple but evocativedrawings of animals andobjects to be flippedthrough and selected atrandom. The techniquesfor which the triggercards can be used are marked with this logo:

2. ToolsIn this section,you’ll find threeuseful tools foruse in anycreative problem-solving situation:

● Mind mapping

● The 5-point scoring system

● Visualisation


BRAINSTORMING

To surface as many ideas as possible on any ‘how to ....?’ problem using the classic method of round-the-table suggestions.

● Select a group leader/scribe and describe the problem. Using a flipchart, ask each member in turn to suggest a solution.

● Record all ideas on the flipchart (however way-out or seemingly silly) and, if possible, number them to ease final selection.

● Encourage and provoke team members to give ideas or pass. After two members have ‘passed’ switch to ‘popcorn’ mode where anyone can call out an idea as it comes. No evaluation of ideas should be permitted. Crazy and ‘stupid’ ideas should be encouraged as well as those which ‘piggyback’ on others.

● Once the leader feels there are enough ideas, move to the evaluation phase to choose one or more viable solutions using a consensus selection method, eg: the 5-point scoring system (see page 71).

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Round or U-shape table

Flipchart andmarkers

Notebook perparticipant

Trigger cardscould helpsurface moreunusual ideas

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BRAINSTORMING

EXAMPLE

Here’s an example taken from one of our creativity seminars:

Problem: An umbrella manufacturer has an unsold stock of 500,000 old-fashioned, blackumbrellas in the warehouse. How to liberate the warehouse space while minimising costs?

Ideas: • Publicity carriers for firms • Give out free in rainy town centres • Use materialto make hats and coats • Use upside down as irrigation devices • Sell to UK • Sell two as ‘CarryKit’ to Third World • Burn down warehouse and collect insurance • Make giant sculpture • Use struts as bicycle spokes • Send to northern Norway as snow-bound airport signalling device (several hundred could be opened and closed to spell out messages to approaching aircraft!)• Sell to Africa as parasols, etc

Best three after 5-point vote:● Use upside down as irrigation devices● Sell two umbrellas + a pole as a ‘CarryKit’ to Third World● Make a giant sculpture of an umbrella as publicity

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NYAKA (DEFECT ANALYSIS)

To build on a group’s natural critical abilities in order to improve a product, service or situation by listing and then finding remedies for its key defects (from the French ‘il n’y a qu’a ...’: All you have to do is ...)

● Select a group leader/scribe and describe the problem. Draw a vertical line down the centre of a flipchart sheet.

● Set a time limit (20 mins?) for the group to list as many ‘things which are wrong with’ the product, service or situation as possible. Mark each idea in the left column.

● Ask the group to brainstorm (in turn or ‘popcorn’) a remedy for each of the defects listed with a view to proposing an improved product, service or action plan which eliminates as many of the defects as possible. Mark each remedy against the relevant defect in the right column.

● Get the group to agree on a new or improved product, service or action plan. Consensus is usually easy to obtain but, if not, the leader should propose an idea selection method such as the 5-point scoring system (see page 71).

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Trigger cardscould helpsurface moreunusualremedies

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NYAKA (DEFECT ANALYSIS)EXAMPLE

Problem: How can we improve the efficiency of the manual paper hole-punch (for binders)?

Solution: Make binders with a ring mechanism which doubles as a simple hole-punch.

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REMEDY? (NYAKA)

Make opening adjustable to number of pages to punch

Make with materials which don’t need lubrication

Add more uses/functions

Adapt the spring/operating system to facilitate use

Gain space by combining with another device

Attach it to the binder

WHAT’S WRONG (DEFECTS)

1. Can’t make holes in many pages at a time

2. Often leaves oily marks on paper

3. You can only use it for punching holes

4. Needs a lot of physical effort for results obtained

5. Takes up too much space on the desk

6. You can never find it when you need it


MERLIN

To improve a product, service or situation by subjecting it to a number of hypothetical changes in terms of size, use, functioning, etc. The Merlin technique can be used working alone or with a group.

● Using two flipcharts or A4 sheets, label four columns: Enlarge, Reduce, Eliminate and Reverse.

● Brainstorm, for 10 minutes on each, (crazy) ways to:Enlarge the product, service or situation, eg: quadruple the price; instead of serving one market segment we expand the service to the whole world/galaxy/universe; what if the unsatisfactory situation concerned everysingle customer?Reduce everything about the product, service or situation.Eliminate the problem entirely. What would happen if it didn’t exist? How to replace it?Reverse the way in which the product, service or situation functions, ie:instead of us serving the customer, what if the customer served us?!

● Review four lists for feasible ideas. Trigger concrete suggestions from crazy ideas. Elaborate. Shortlist. Select best idea.

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If conductedwith a group:


Two flipchartsand markers


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MERLIN

EXAMPLE

This example comes from one of our creativity workshops. The problem was to find fourviable ideas to improve the appearance, utility and/or marketability of the pocket comb.Here are some selected ideas from the four lists and the ‘winners’.

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Enlarge

• Comb for lawns• Space comb for

satellite debris• Bicycle ‘rack’• CD ‘rack’• Crop spray comb• Roofing material• Comb for fishing

(instead of net)

Reduce

• Moustache comb• Finger combs for

wavy hair• ‘Pen’ comb• Chromosome

comb• Eyebrow comb• Doll’s comb• Folding comb

Eliminate

• Bald cream (for shiny heads!)

• Disposable combs (tear-off strip of card comb in bathroomdispenser)

• Make scissors• ‘Bald is beautiful’

campaign on TV

Reverse

• Blow-wave drier• Fixed comb on

wall (you move your head!)

• Public combing machine (like photo booth with computerisedcomb movements for different hair styles)


FEATURES MATRIX

To use a matrix device in order to provoke forced and unorthodoxbisociations between two characteristics of a product, service or situation.

● Having selected the problem (examples: • How to expand product line orservices offered? • How to reduce customer complaints?) identify the twoaxes for the Features Matrix, ie: two characteristics which can be compared,such as: • Products or services/Their applications • Products orservices/Customer types • Types of complaint/Months of the Year.

● Plot all the presently known combinations between the two sets ofcharacteristics (mark with X).

● Encourage unorthodox combinations and plot ideas (mark with ▲).

● Elaborate on new ideas for combinations on aseparate sheet (if the problem is anunsatisfactory situation the ▲ will indicate whenthe situation does not occur so you nowanalyse reasons why not).

● Select best/most likely.

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If conductedwith a group:




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✓APPLICATIONSPRODUCTS

Product 1 X X

Product 2 ▲ X ▲

Product 3 X X X ▲

Product 4 ▲ X

1 2 3 4


FEATURES MATRIXEXAMPLE

Problem: A manufacturer of homecare products wishes to identify new markets and/ornew products.

Features Matrix Axes:1. Product categories (bath/shower; clothes care;

furniture/floor care; air care; laundry; etc)2. Customer categories (children, teens, newly weds,

singles, couples, middle aged, retired)

‘Forced’ but Viable Associations:● Special kid’s range of bath/shower products● ‘First Home’ care kit for newly weds and students (includes whole product range)● Teens clothes fashion enhancers (jeans shrinker, glitter spray, temporary colours, etc)● Laundry rinse for children (with mild disinfectant for cuts and scratches and/or insect

repellent and fruit fragrances)

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CUSTOMERPRODUCTS

Product 1 X X

Product 2 ▲ X ▲

Product 3 X X X ▲

Product 4 ▲ X

1 2 3 4


EUREKA!

To solve a problem in an illogical way by making forced associations withtotally unrelated words/themes. Eureka works best in a group problem-solving situation.

● Select a leader/scribe. Before describing the problem to the group, choose atrandom three trigger cards from the end of this chapter and draw a columnfor each on a flipchart sheet. Show the trigger cards to the group orphotocopy them and stick one at the top of each column.

● Ask the group members to call out (in turn) the first word that comes to theirminds when they think of the item on the trigger card. Fill each column withthese ‘free associations’.

● Now describe the problem to be solved and ask team members to proposesolutions which use at least one word from each of the three columns. Writesolutions (most will be totally ridiculous) on a separate sheet.

● Review the list of solutions and brainstorm concrete suggestions bytriggering from crazy to feasible ideas.

● Select best idea and elaborate.

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Three triggercards fromthis chapter(photocopyand stick)

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EUREKA!


EUREKA!EXAMPLE

Problem: How to improve communications between subsidiaries in a multinational company?

Trigger cards chosen and examples of free associations made:

Ideas: ➤ Network + Tuning + Memory = Introduce a computerised and updated communicationsmap to keep subsidiaries in tune and improve the corporate memory. ➤ Web + Tapes +Disappearing Species = Record and distribute a regular information video to all subsidiaries to avoidthem feeling ‘doomed to extinction’. ➤ Fear + Creative + Africa = Award a ‘not-invented-here’annual prize to the subsidiary which can prove it has used the most ideas from other subsidiaries, ie:is not afraid of creative ideas coming from Africa - or anywhere!

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SPIDER

• Web• Network• Flies• Fear• Creepy• Useful• Cannibal

GUITAR

• Music• Tapes and records• Spain• 6 Strings• Tuning• Creative• Knopfler

ELEPHANT

• Giant• Tusk• Disappearing species• Ivory• Memory• Heavy• Africa

EUREKA!


B R A I N FA X I N G

To find a creative solution to a negative scenario which you want to avoid bybuilding on the ideas of 4-6 other participants who are at different locationswithin the organisation - but linked by a fax machine.

● Inform 4-6 participants of the rules for Brainfaxing. Fax each of them a shortdescription of a negative future scenario which you’d like to avoid withsome creative solutions (Fax 1).

● First ask all participants to write one possible reason why this scenario couldhappen (directly onto the fax under your description - max 2 lines) and faxthe sheet (Fax 2) to the next participant in an agreed sequence (participant Afaxes his/her idea to participant B, B to C, etc).

● Participants then think about the reason they have received, suggest one wayof avoiding it (writing directly onto the original) and fax the whole thing backto you (Fax 3).

● Review each suggestion (alone or with the group) and select the mostfeasible.

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One faxmachine perBrainfaxerlocation


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B R A I N FA X I N G

EXAMPLE

Negative scenario (Fax 1): It is January 1st 2005. Our organisation no longer exists.The reason for its disappearance is:

Solution: Set up a joint venture with the Hungarian company • Reinforce managementcontrols • Increase R&D budget by 25% • Diversify into XYZ

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Examples of possible reasons (Fax 2)

Our managers were incompetentOur president ran off to the Cayman Islands with his secretary and all the cashA consumer group successfully campaigned against our productsWe were taken over by a small Hungarian competitorWe were in the contaminated zone when the nuclear power station explodedA competitor brought out a product that made ours obsolete

Examples of suggestions (Fax 3)

Hire new, and train existing, managersReinforce/introduce new control systems

Set up an active PR department NOW!

Buy out the Hungarian company before it’s too late!Move the HQ and factory to a ‘safe’ zone

Increase the R&D budget; diversify into other product areas


ANALOGIES

To look at a problem in a new way by asking a group to compare it to acompletely different situation (analogy) thus triggering creative ideas. Often,the original analogy has disappeared by the time you make your finalselection.

● Describe the problem to be solved and ask the group to brainstorm a list ofanalogies. The best way to come up with an analogy is to think of theproblem and say ‘It’s a bit like...’. Alternatively, the group leader could‘impose’ an analogy from which to work. For example, a fairy tale (SnowWhite, etc) or a situation from history (the Battle of Waterloo, etc).

● Select an appropriate analogy from the list (if necessary, use the 5-pointscoring system).

● Ask the group to compare the problem at hand to the analogy and come upwith suggested actions. For example, in the Snow White analogy, the sevendwarves could be smaller companies or departments who could help yousolve your ‘wicked witch’ problem.

● Note ideas as they come and encourage triggers to new, unrelated solutions.

● Select solution(s) and elaborate.57





✓

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ANALOGIESEXAMPLE

Problems: How to develop the employment agency business in the face of stiff competition?

Analogies: ‘It’s a bit like...’ A trapper venturing into the Canadian tundra surrounded by bears and Indians • Building a hotel in the middle of the Sahara desert • Selling fans to the Patagonians.

Selected: Hotel in the desert.

Triggers: From ‘deserts’ to new markets to be explored - despite the ‘heat’. From ‘new markets’ to the example of banks creating specific products and services for the under 18’s so as to keep them as adult customers. From the idea of the under 18’s to the Eureka suggestion of offering computer seminars, factory visits and talks from occupational psychologists to 12-15 year olds. This real case (in Switzerland) provided the organisation not only with future clients but also some interesting free PR in the national press.

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IDENTIFICATION

To find innovative solutions to any problem by asking team members toliterally ‘identify’ themselves with the problem. A sensitive but powerfultechnique with a lot of ‘heart’ involved!

● Select a leader/scribe, stand at a flipchart and describe the problem to besolved.

● Ask each team member, in turn, to identify with the problem (product orservice to be improved/created; unsatisfactory situation/conflict to beresolved, etc) for 30-60 seconds. In doing so, the individual must imagines/he is inside the problem and describe what it feels like, what is seen, whatis happening, etc, using as much imagination as possible. Identificationworks best when speakers close their eyes and turn away from the group.

● As each team member speaks, note down key items (nouns, adjectives,feelings, etc) on the flipchart. Use speaker’s actual words. Others notesolution ideas as and when they come.

● Review list and brainstorm how the words and feelings described couldtrigger solutions to the problem.

● Select best and elaborate.

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✓

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IDENTIFICATIONEXAMPLE

This example is quoted by the Synectics Consulting Group from Boston.

Problem: A manufacturer of clay pigeons was seeing sales declining as a result ofcomplaints from residents near shooting ranges that pieces of clay pigeons were fallingonto lawns and damaging mowers.

Identification: Each member of the small staff was asked to ‘identify’ with a clay pigeon!One team member intoned “I am flying through the air, happy as can be when ... ouch!I’ve been hit in the wing. I’m falling, falling ... crash! I’ve landed on somebody’s lawn. Oh,I’m so ashamed, I wish I could melt into the ground!”“Eureka”, shouted another team member, “we must make our pigeons out of ice!”“And add fertiliser to the water before we freeze it?”, asked another, helpfully.

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WRONG RULES

To improve the effectiveness/quality or reduce the costs of an operation byapplying the ‘wrong rules’ to the situation. This technique can be usedworking alone or with a group.

● Select one of the sets of rules overleaf (or find another set) which is ‘closest’to the operation whose effectiveness you wish to improve. Use a flipchartpad for ideas as they come.

● Go through each Golden Rule in turn and try, by all means possible, to applyit to your problem. Encourage wild ideas. If you can’t seem to apply one ofthe Golden Rules, move on to the next. The purpose of the exercise is not toforce a ‘mirror’ of the rules but to surface creative ideas, however they come.

● Review the list of ideas. Select those which are most feasible and elaboratean action plan.

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If used with agroup:




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WRONG RULESTHE MACTAVISH RULES

Legend has it that during the Crimean War, the gun crews of the horse-drawn Russianartillery were little more than cart drivers, leaving the loading, aiming and firing of theircannon to the master gunner - until they learned the six golden rules of Hamish McTavishand increased their fire power and strike record tenfold!

1. Gun crews will halt their carriages with the cannon facing the enemy2. Each gun crew will be responsible for the loading of the cannon3. One gunner from each crew will light the cannon4. Another gunner will aim the cannon and observe the trajectory of the shot5. If the target is missed, the same gunner will re-aim the cannon6. This procedure will be repeated as often as is necessary

Applications● Strategic planning meetings● Who should do what?● How to reduce costs/increase quality/use headcount more

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WRONG RULESRULES FOR FLOURISHING FLORISTS

1. Keep all flowers in water at all times2. Regularly cut the ends of the flowers’ stems3. Keep flowers at a satisfactory and constant temperature4. Arrange and stock flowers loosely, not in tightly-packed vases5. Always remove withered flowers from bouquets6. Add cut-flower fertiliser to water regularly

FIRE EVACUATION PROCEDURE

1. Walk in an orderly manner towards evacuation points2. Avoid unnecessary conversation to permit communication with the fire services3. Immediately clear emergency exits4. Regroup in the parking areas5. Await instructions6. Do not re-enter the building until instructed by the fire services

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WRONG RULESEXAMPLE

Problem: How to be more effective as a secretary? Using the ‘Rules for FlourishingFlorists’ as a trigger, set six ‘improvement’ objectives:

1Keep all flowers in water at all times.

2Regularly cut the ends of the flowers’ stems.

3Keep flowers at a satisfactory and constant temperature.

4Arrange and stock flowers loosely, not in tightly-packed vases.

5Always remove withered flowers from bouquets.

6Add cut flower fertiliser to water regularly.

Organise a regular ‘coffee meeting’ with my boss todiscuss mutual needs/problems, etc.

Avoid piles of paperwork with a programme of regular filing.

Agree with my boss on a precise, written job description.

Not to accept regular menial and time-consuming tasksfrom my boss. Agree on type and frequency of such tasks.

Ensure that my in-tray is cleared by 1600 hrs. each day toallow for ‘planning’ tasks.

Draw up a personal development plan and agreenecessary training with boss.


FRAME UP/DOWN

A technique developed by Mark Brown to help problem-solvers move out oftheir frame of reference regarding a problem and see it from another angle -and trigger solutions.

● Describe the problem to be solved and select a word or phrase to symboliseit. A real example from an airline session was: ‘How to get more pilots to wantto fly F-27s instead of DC-9s?’

● Using the mind mapping technique (see page 67) start to frame up and downas ideas come. A frame up is a concept that is larger than and yet includesthe lower frame along with many others. In the example, a frame up from F-27 would be ‘airplane’ and then up again to ‘airline’ or ‘flying club’. A framedown is an aspect or example of the higher frame. From F-27, you mightframe down to ‘cockpit’, ‘passengers’ or ‘a pink F-27’, and from ‘cockpit’down to ‘heating system’. Circle or ‘cloud’ your frames as the mind mapprogresses. Example overleaf.

● Note ideas/solutions as they come then move on to more frames. Forexample, the phrase ‘flying club’ above gave us the idea of allowing airlinepilots to buy shares in the F-27s with their flying hours so that they could ownpart of a plane when it was ‘retired’ from the airline.

● Review all solutions noted for feasibility, elaborate on best and implement. 65

If used with agroup:


Large white-board withmarkers


Trigger cardscould help

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FRAME UP/DOWNEXAMPLE

Here is an abbreviated example from Mark Brown’s ‘Dinosaur Strain’ (Element Books).The company makes wall-coverings and the starting point is ‘How to increase the salesof paint?’.

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TOOLSMIND MAPPING

Mind mapping is a brainstorming tool which allows you to surface and build on ideasrapidly and creatively. Developed by Tony Buzan, Peter Russell and Mark Brown in themid-1970s, mind mapping is now being used by creative managers all over the world asa note-taking and note-making device.

The principle behind mind mapping is that the process of creativity is organic rather thanlinear and that creative thoughts grow like the branches of a tree rather than in lines likein a book or on a computer screen. When applied to problem-solving, the guidelines areas follows:

● Start in the middle of the page with the problem (keyword or phrase)● Put main ideas as keywords on ‘trunks’ radiating out from the middle● Note sub-ideas as keywords on ‘branches’ of trunks and then ‘twigs’● Wherever possible use colour plus logos or pictures instead of words● Line ‘triggered’ or related ideas with dotted lines ‘Blob’ finished

sections - but this is a linear description, so - PTO!

67


TOOLSMIND MAPPING: PRINCIPLES

68


TOOLSMIND MAPPING: EXAMPLE

Problem: What could a writer include in a pocketbook for creative managers?!

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70


TOOLSMIND MAPPING: EXERCISE

Now it’s your turn. Use this page to quickly brainstorm with yourself ways in whichEuropean governments can deal with the very real problem of state pensions in the years2005 to 2020 - too many ‘baby boom’ pensioners and not enough money!

PENSIONS 2005


TOOLSTHE 5-POINT SCORING SYSTEM

Whichever creative problem-solving technique you use, the moment will always comewhen you have to select the ‘best’ idea. If you’ve been working in a group, this is alwaysdifficult and delicate because it’s natural for everyone to think their idea is the best.

One way to get over this problem democratically is to allow every participant 5 pointswhich they can award in any way they wish to any one of five of the suggested solutions(except their own!).

In other words, they can give all 5 points to one suggestion, give 4 to one suggestionand 1 to another, give 2 points to one, 2 to another and 1 to another, or 2+1+1+1, etc.

The solution which gets the most points is automatically selected. In the case of a tie, asimple vote will usually do the trick.

71


TOOLSVISUALISATION

Visualisation is a simple tool which is often neglected in the creativity process because oflack of time or fear of the ‘touchy-feely’ aspect of closing one’s eyes in public!

Highly creative people will tell you that once they have an idea, they take some time to make a clear and detailed picture of the final, implemented solution. Some song writers, for example, create the album cover in their mind before composing the first song. Soccer players and skiers see themselves creating new moves over and over in their minds. Painters visualise the finished canvas.

Whenever you have an idea, stop and savour it. Elaborate on it mentally. See it working in practice. Play that film over and over. When intention starts to take on a concrete form, the steps in between don’t seem so daunting. Soon all you have to do is ..... go for it!

72


TRIGGERSTRIGGER CARDS

On the next pages are a series of trigger cards - drawings of animals and objects whichwill help trigger ‘bisociative’ ideas during the creative problem-solving process. Theprinciple is simple:

● You, or the group leader, flip through the pages and select a picture at random. (Once you think you have exhausted the possibilities from these pictures, use any children’s book or even a dictionary.

● Concentrate on the picture and try to imagine how that animal or object could possibly have any connection with the problem you are trying to solve. The crazier the idea the better - it may trigger another, more feasible solution.

The creative problem-solving techniques for which these trigger cards are most useful have been marked with this logo:

73

SELLING CREATIVE IDEAS

97



98

‘IT’S NOT CREATIVE UNLESS IT SELLS’David Ogilvy (advertising guru)


THE ENEMY

“I have seen the enemy and he is us.”

It’s true that we are usually our worst enemy regarding our own creativity but, even if weknow we have the idea of the century, selling it to management (or anybody!) can beextremely difficult. The status quo is comfortable, creative change isn’t.

Here are some of the things you will hear as you try and sell your new idea:

● It’s a great idea but, unfortunately, we don’t have the budget● I like it, but the Legal Department would never agree● That’s all very well in theory, but in my experience...● You need to be more specific about your proposal● If it’s that good, why hasn’t somebody thought of it before?● Let’s wait until the new organisation has settled down● The savings wouldn’t come to this division anyway...● This is a short-term solution; we’re more interested in the long-term● The intangible risks would be too great

Printed with acknowledgement to the original in IBM South Africa News.99


FORCE FIELD ANALYSISDOING YOUR HOMEWORK

Before presenting your new idea to the decision-makers, sit down and do yourhomework. One way to prepare to take on the ‘enemy’ (status quo inertia) is to do ananalysis of the forces which will be fighting against your idea as well as those which willbe pushing in your favour. Example:

You should obviously be specific and mention names and situations. If the left side startsto push the right side off the page then at least you know what you’re up against!

100

FORCES AGAINST

● No budget

● Boss likes to ‘play it safe’

● Shortage of staff

● New technology needed to produce it

FORCES IN FAVOUR

● Creativity is part of our mission

● Customer complaints show need

● Sales in this area are declining

● Competition is innovating

● Boss needs ‘brownie points’

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FORCES AGAINST FORCES IN FAVOUR


FORCE FIELD ANALYSISEXERCISE

To get some practice with Force Field Analysis, think of an idea you’d like to haveimplemented in your organisation and note down some of the opposing forces:


CHIPS ANALYSISOVERCOMING THE BARRIERS

In order to sell a new idea to someone, you have to get into their world and demonstratehow it will help them. A CHIPS analysis takes into account the five most importantaspects of a decision-maker’s motivation when faced with uncomfortable creativity.

C osts - Give an estimate of how much the idea will cost to implement.- Show how much it will save.- Point out long-term ROI benefits.

H elp - All managers like (and are paid) to help if they can. Appeal to the coaching, development and leadership role of the decision-maker.

I nnovation - Stress the positive side of newness. Decision-makers are responsible for innovating - it’s on their job description!

P restige - Highlight what’s in it for them.- Work on how you can make the decision-maker look good and gain

prestige within the organisation.S ecurity - Above all, show why the idea is a ‘safe bet’. Stress reliability, quality

and low risk aspects. If it is risky, outline ‘Plan B’.102

103


CHIPS ANALYSISEXERCISE

Using the example you chose for your force field exercise, now imagine that you’re goingto present the idea to your boss or another decision-maker. Jot down some of thearguments you might use:

C osts

H elp

I nnovation

P restige

S ecurity


PRESENTATION TIPSSTRUCTURE

B ang! ● Always start with an attention-getting ‘hook’

O pening ● Outline main messages (Road Map)

M essage ● Give only 4-5 key messages

B ridge ● Make a bridge between each key message and your CHIPS analysis of the decision-maker’s needs

E xamples ● Give frequent examples to help the audience visualise what you mean

R ecap ● Be sure to summarise and conclude

B ang! ● Always finish with a closing ‘hook’

Bomber B is a mnemonic device to help you structure your presentation and make it fly!

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PRESENTATION TIPSV.H.F. SUPPORT

A creative idea deserves a creative presentation. Here are some tips:

• Show pictures, graphs and diagrams - few words• Use colour • Introduce humour • Change medium frequently (overhead

projector, flipchart, 35 mm projector, whiteboard, etc)

• Use tape player for ‘atmosphere’ music or sound effects

• Slow down and articulate well

• Give frequent examples and anecdotes from their world• Use parables and analogies • Evoke emotions of pride,

belongingness, teamwork, etc • Appeal to sense of touch, taste and smell whenever possible

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V isualaids

H earingsupport

F eelingsupport


PRESENTATION TIPSPLATFORM SKILLS

When, at last, you’re on your feet in front of the decision-makers, concentrate on You and Them:

YOU • Keep your body language ‘open’ • Be a lighthouse with eye contact • Head up, voice up! • If possible, move around • Exaggerate gestures • Beware of coins in pocket/playing with markers

THEM • Welcome interruptions • Reflect questions back to the poser to make sure you’ve understood (“If I understand correctly you’d be interested in ...”) and then deflect it for group comment before giving your opinion • Ask questions yourself as often as possible to get objections out in the open

• Play devil’s advocate to pre-empt argument (“What are some of the reasons you feel this won’t work?”) • Don’t show impatience or anger with objections - it will make it easier for them to kill your idea

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107

‘IT’S NOT CREATIVE UNLESSIT SELLS’

REFERENCE & FURTHER READING

‘The Act of Creation’, Arthur Koestler, Penguin 1989

‘The Use of Lateral Thinking’, Edward de Bono, Penguin 1990

‘In Search of Excellence’, Peters and Waterman, Harper Collins 1995

‘Innovation and Entrepreneurship’, Peter Drucker, Heinemann 1985

‘Moments of Truth’, Jan Carlzon, Harper and Row 1991

‘The Dinosaur Strain’, Mark Brown, The Innovation Centre 1993

‘Use Your Head’, Tony Buzan, BBC Publications 1995

‘The Brain Book’, Peter Russell, Routledge and Kegan Paul 1990

‘Archie and the Eureka Workshops’, John Townsend, Industrial and Commercial Training (Journal) May/June 1986

‘L’Instant Creatif’, Florence Vidal, Editions Flammarion 1984

‘L’Innovation en Matiere de Produits’, B.P.S. Berne 1977

108

• Answer to ‘Who Does What?’: Manager: Jane Simpson, Lawyer: Ted Anderson,Accountant: Fred Harris, Secretary: Sam Carter, Clerk: Peter Thomas

• Answer to ‘Puzzles’: 5 + 5 + 5 = 550; V1 = 1

About the Authors

John Townsend, BA MA MIPD is Managing Director of the Master Trainer Institute. Hefounded the Institute after 30 years of experience in international consulting and humanresource management positions in the UK, France, the United States and Switzerland. From 1978-1984 he was European Director of Executive Development with GTE in Genevawith training responsibility for over 800 managers in some 15 countries. Mr Townsendhas published a number of management and professional guides and regularlycontributes articles to leading management and training journals. In addition to trainingtrainers, he is also a regular speaker at conferences and leadership seminars throughout Europe.

Jacques-Patrick Favier graduated from Grenoble University with a degree in politicalscience before embarking on a career in human resource management. After more than20 years’ experience in the multinational and public administration arena in France andSwitzerland, he has set up his own company ‘Eureka Training’ based at the foot of the Jura mountains. Although specialising in creativity seminars for several blue-chip clients,Mr. Favier also runs management and interpersonal skills workshops for well-known Swissbanks, insurance companies and pharmaceutical giants. He also teaches operationalcreativity to managers at the Geneva Industrial Institute.

Published by Management Pocketbooks Ltd14 East Street, Alresford, Hants SO24 9EE. Tel: +44(0)1962 735573 Fax: +44(0)1962 733637E-mail: [email protected] Web: www.pocketbook.co.uk

© John Townsend 1991. All rights reservedEditions: 1st 1991 (ISBN 1 870471 07 5),

2nd 1998 (ISBN 1 870471 69 5)Reprinted 1999. Printed in U.K.

British Library Cataloguing-in-Publication Data –A catalogue record for this book is available from the British Library.

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